able
works on Man's Early History and Primitive Culture, to Lubbock, Daniel
Wilson, Evans, and others, for the direction or _impetus_ of these
inquiries, as I am to my own observations and experiments for its
development.

The line of gradual development in ceramic decorations, especially of
the symbolic element, treated as a subject, is wider in its
applicability to the study of primitive man, because more clearly
illustrative of the growth of culture. I regret, therefore, that it
must here be dealt with only in a most cursory manner. Large
collections for illustration would be essential to a fuller treatment,
even were space unlimited.

[Illustration: FIG. 542.--Example of Pueblo painted ornamentation.]

Decoratively, Pueblo pottery is characterized by two marked features:
angular designs predominate and ornamental effect depends as much on
the open or undecorated space as on the painted lines and areas in the
devices. (See Fig. 542.) While this is true of recent and modern
wares, it is more and more notably the case with other specimens in a
ratio increasing in proportion to their antiquity.

[Illustration: FIG. 543. & FIG. 544.--Amazonian basket decorations.]

We cannot explain these characteristics, and the conventional aspect
of the higher and symbolic Pueblo ceramic decorations which grew out
of them, in a better way than to suppose them, like the forms of this
pottery, to be the survivals of the influence of basketry. (See, for
comparison, Figs. 543, 544.) I shall be pardoned, therefore, for
elaborating suggestions already made in this direction, in the
paragraphs which treated of the ornamentation of spiral ware, and of
the derivation of basket decorations from stitch- and splint-suggested
figures. All students of early man understand his tendency to
reproduce habitual forms in accustomed association. This feeling,
exaggerated with savages by a belief in the actual relationship of
resemblance, is shown in the reproduction of the decorations of basket
vessels on the clay vessels made from them or in imitation of them.

In entire conformity with this, the succession in the methods of the
ornamentation of Pueblo pottery seems to have been first by incision
or indentation; then by relief; afterward by painting in black on a
natural or light surface; finally, by painting in color on a white or
colored surface.

As before suggested, the patterns on the coiled, regularly indented
pottery (which came to be fir